A Quote by Anthony Jeselnik
An offended audience member repeating a comedian's act from memory is worse than, literally, anything.
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Today's comedian has a cross to bear that he built himself. A comedian of the older generation did an act and he told the audience, This is my act. Today's comic is not doing an act. The audience assumes he's telling the truth. What is truth today may be a damn lie next week.
I may not be a trained actor, but I've paid my dues. And I mean that literally. I am a fully dues-paid member of SAG/AFTRA. As a political figure, I've been called a 'card carrying' member of numerous groups that I'm not a member of - and now I'm being called a non-actor when I am literally a card-carrying member of the union for actors.
Part of the discipline of being an editor is that you have to be a good audience member; your work is to be a surrogate audience member on the films you are working on.
Memory is strange. Scientifically, it is not a mechanical means of repeating something. I can think a thousand times about when I broke my leg at the age of ten, but it is never the same thing which comes to mind when I think about it. My memory of this event has never been, in reality, anything except the memory of my last memory of that event. This is why I use the image of a palimpsest - something written over something partially erased - that is what memory is for me. It's not a film you play back in exactly the same way. It's like theater, with characters who appear from time to time.
You start as an audience member and create a world you're interested in, and then you move into the telling of those stories, bringing what has interested you as an audience member.
My dream was always to have an experience where an audience member would turn to another audience member, a stranger, and be like, 'What did we just go through?' And, like, kind of begin to talk.
There are worse things than having behaved foolishly in public. There are worse things than these miniature betrayals, committed or endured or suspected; there are worse things than not being able to sleep for thinking about them. It is 5 a.m. All the worse things come stalking in and stand icily about the bed looking worse and worse and worse.
I don't understand choreographers who say they don't care about the audience or that they would be happy to present their works non-publicly. I think dance is a form of communication and the goal is to dialogue with the audience. If an audience member tells me they cried or that the dance moved them to think about their own journey or a family member's, then the work is successful.
I see myself as a comedian rather than a female comedian. I happen to be a woman, but I am a comedian by trade.
A pleased audience member is a pleased audience member, whether they're in New York or Mumbai.
I don't know any comedian who tailors his act to his audience. Maybe people say they do, but I can't even imagine them.
I don't think there's anything worse than your parents being alive and telling you to go give them some money and just act like they're dead.
Very often the test of one's allegiance to a cause or to a people is precisely the willingness to stay the course when things are boring, to run the risk of repeating an old argument just one more time, or of going one more round with a hostile or (much worse) indifferent audience.
Drama began as the act of a whole community. Ideally, there would be no speculators. In practice, every member of the audience should feel like an understudy.
The act of writing is for me often nothing more than the secret or conscious desire to carve words on a tombstone: to the memory of a town forever vanished, to the memory of a childhood in exile, to the memory of all those I loved and who, before I could tell them I loved them, went away.
I think there is a weird loneliness that comes with being a comedian. There is something definitely inside the personality of a person who wants to be a comedian, and (he or she) is looking to connect (to the audience) at all times.
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